I use 300, and that is simply because I have it in my head images should be at 300 DPI for printing. You image is exported at its native resolution with no scaling. But note, this resolution is merely a tag for Photoshop, it does not scale your image in the least. Resolution: This option allows you to set the output resolution of your image. Yeah, you will have to downsample to 8-bit to save as a Jpeg for the web or most print labs, but you always want to edit in a 16-bit environment to maintain image quality. RAW, which is a fairly in depth discussion of bit depth as it pertains to JPEG vs RAW, but the concepts apply directly to this situation as well. You can read more on the specific of bit depth in Taking a byte out of bit depth – Jpeg vs. Bringing it to simple terms, each color channel can have 256 levels of intensity (8-bit) or 16.7 million levels (16-bit). This simply means that ProPhoto RGB will retain most color information present in Lightroom recreating your image in Photoshop faithfully.īit Depth: Again, a simple choice Lightroom offers to export your image with a bit depth of either 8 bits per channel or 16 bits per channel. Second, Lightroom’s internal color space, often referred to as MelissaRGB, is based upon ProPhoto RGB. First, ProPhoto RGB has the widest gamut of the three choices, meaning it encompasses more possible colors. Regardless of if you choose to read the prior article or not, you really only have one choice when it comes to retaining data, ProPhoto RGB. Give it a quick read if you want to know more. We covered the concept of color spaces fairly in depth a while back with Print and Onscreen – Color Spaces and ICC Profiles – Part 1 of 2. Each has their place in photo editing, but my concern is for maintaining color fidelity from Lightroom to Photoshop. For more information, read this older discussion on TIFF vs PSD, primarily paying attention to Jeff Schewe’s response.Ĭolor Space: This option allows you to choose between the three color spaces Lightroom allows you to export to ProPhoto RGB, Adobe RGB (1998) and sRGB. I recommend TIFF, but it is a personal issue. TIFF support my desired bit depth and color space while retaining great compatibility with other software. I used to religiously utilize PSD when editing in Photoshop, but I have switched my workflow to TIFF. Plus, PSD is in no way a “standard” format like TIFF and other applications may have difficulty with its output. Unfortunately, saving a PSD with Maximum Compatibility renders any slight benefit of using PSD moot. If you forget to enable Maximum Compatibility, Lightroom will not be able to read the resultant file. First, if you choose PSD, you must be sure to save your image in Photoshop with the Maximum Compatibility option in Photoshop. At heart, it truly matters little what you choose, but there are some considerations to make. There are many reasons why one may desire to specially configure exports for Photoshop, but in my mind, the most important reason is to retain as much detail and color information possible in the process.įile Format: This setting allows you to choose between the two different image formats Lightroom can provide you image to Photoshop in, PSD or TIFF. So let’s jump right in.Įdit in Adobe Photoshop CS X (where X represents your highest installed version of Photoshop) allows you to configure the file settings that will be applied when Lightroom renders an image for editing in Photoshop. #Perfectly clear complete edit not saving in lightroom how toSome of you have been asking how to get more performance out of Lightroom today we will see how to optimize output for Photoshop and how to speed up the Develop Module with a simple adjustment. Today we are going to look at the External Editing and File Handling tabs. In Part 1 of Setting Your Settings – Tuning Lightroom, we covered the General and Presets tabs of the Lightroom Preferences dialog.
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